Arion's Archaic Art

November 28, 2016

Hi everyone!Today, instead of reviewing someone else’s work, I’m focusing on my own comic book: Un-American Chronicles, 4 stand-alone stories in one special issue: The Outsider (a horror story about a group of immoral kids that punish a defenseless woman with cruelty), It's Always the Statue of Liberty (an urban tale about 9/11; and about how, in fiction, a destroyed Statue of Liberty usually symbolizes the downfall of the US), Who Said It Was Easy? (a romantic comedy about a metamorphic woman who tries to seduce the guy next door) and Park (an erotic adventure in a public place…).

November 23, 2016

Superhero stories often deal with authority. In one way or another, a superhero represents the law, and although he may not have any formal jurisdiction over his town or city, he can still apprehend evildoers, both human and superhuman. However, all heroes must answer to a higher authority, which is why, even in the oldest comics I’ve read from the 40s or 50s, the job of a masked vigilante ends as soon as they have captured their enemy. After that, the adversary is left in the hands of the police department of whatever law-enforcement agency of this fictional world.

The Avengers, of course, must follow certain procedures and comply with the guidelines of the authorities. However, at what point following the rules becomes a hindrance for Earth’s mightiest heroes? David Michelinie decided to answer this question in “On The Matter Of Heroes!” (originally published in The Avengers # 181, March 1979). Peter Henry Gyrich, the government’s liaison, starts acting more like a dictator than like an administrative official. Before granting the Avengers the special security clearance they need to operate in and outside the United States, Gyrich forces them to have only 7 active members. And much to Iron Man’s chagrin, he also gets to decide who stays on the team and who goes. Certainly, George Pérez understands the relevance of this discussion when he comes up with the extraordinary cover (even years before Crisis on Infinite Earths, Pérez had the uncanny ability of balancing dozens of characters in a single page, providing each one of them with a unique personality and distinctive features).In his script, Michelinie also introduces a racial component which was quite controversial at the time: “If the Avengers are to be sanctioned by the government, they’ll have to adhere to government policies -- and that includes equal opportunities for minorities”, explains Gyrich. There is a heated debate amongst the heroes, because the criteria to choose an Avenger should be based solely on the abilities and merits of any given individual, and not on their race, place of origin or religion. This is a fascinating subject which would be further developed by writers like Kurt Busiek during his run on Avengers in the late 90s.

Needless to say, I can only imagine how shocking this subplot must have been for readers in 1979. So the new official Avengers roster is comprised of Iron Man, the Vision, Captain America, Scarlet Witch, the Beast, the Wasp and the Falcon. Although at first the Falcon is reluctant to accept his role as an Avenger, eventually Steve Rogers persuades him to join the team in “Honor Thy Father” (The Avengers # 182, April 1979). “I’ve proven myself as a superhero! I don’t like being chosen to fill a quota”, explains Sam Wilson. And although he soars the skies as the Falcon, now he feels uncomfortable for being summoned only due to his race.

The African-American hero isn’t the only one having a hard time. In the pages of Avengers, we witness some of the personal issues Iron Man is dealing with. His alcoholism is spiraling out of control, and in a few very interesting panels, we see Tony Stark more concerned about his next martini than with attending an Avengers meeting. At the time, Michelinie was also writing the one of the most disturbing, heartbreaking and memorable Iron Man sagas ever published: The Demon in a Bottle. So it’s quite interesting to observe how Tony Stark shows signs of addiction in the pages of Avengers before things get out of control in his own title.

Michelinie really excels at introducing real problems in the lives of this group of superheroes. I’m sure some fans prefer to celebrate the fight between the Avengers and the Absorbing Man, which takes place in “The Redoubtable Return of Crusher Creel!” (The Avengers # 183, May 1979) and “Death On the Hudson!” (The Avengers # 184, June 1979). Personally, I feel much more invested in the story thanks to details such as Clint Barton (Hawkeye) and his lack of money. After being expelled of the Avenger by orders of Henry Peter Gyrich, the archer ends up in a seedy bar, near the docks, which is the only place he can afford (there is even a scene in which we get to see Clint counting how many quarters he has in his wallet); in fact, when the Absorbing Man shows up, Clint finds a pay phone but unfortunately he doesn’t have enough money call the Avengers. Things like this really make me feel connected to the story, and overall give more authenticity to this group of characters.

Finally, in “The Yesterday Quest!” (The Avengers # 185, July 1979), Scarlet Witch and Quicksilver travel to Eastern Europe to find more information about their past. As usual, Michelinie finds the right balance between the global menaces and supervillains, and the most important aspect of the heroes: their private life. John Byrne does a superb job as the penciler of all these issues; however, the constant change of inkers creates a certain sense of instability and there is not enough visual cohesiveness as one might desire. For instance, Gene Day is a good fit for Byrne, but that’s not necessarily the case with Klaus Janson (whose raw and visceral approach contradicts Byrne’s harmonic compositions and polished lines). Dan Green is also a bit irregular when it comes to his work as inker. Of course, inkers like Terry Austin are the ideal artistic partner for Byrne, sadly Austin is here only in one issue. With the exception of issue # 182 (done by Al Milgrom), all covers are illustrated by the legendary George Pérez (assisted by inker Terry Austin); these are beautiful and powerful images, Pérez’s daring designs and his attention for details add a very special flavor to these visually arresting covers. ________________________________________________________________________________________________________________________________________________________________________________________________Las historias de superhéroes están ligadas a la autoridad. De un modo u otro, un superhéroe representa la ley, y aunque no tenga ninguna jurisdicción formal sobre su ciudad, igual puede aprehender a los malhechores, tanto humanos como sobrehumanos. Sin embargo, todos los héroes deben responder a una autoridad superior, por lo que, incluso en los cómics más antiguos que he leído de los 40s o 50s, el trabajo de un vigilante enmascarado termina tan pronto como ha capturado a su enemigo. Después de eso, el adversario queda en manos del departamento de policía o de cualquier agencia de la ley del mundo ficticio.

November 22, 2016

It’s been over 40 years since Chris Claremont became one of the most respected authors in the comic book industry. His critically-acclaimed run on X-Men resurrected a title that was on the verge of cancellation, taking it to new heights of popularity. All of a sudden, the classic team of X-Men was disbanded, as we saw in “Second Genesis”.

The recent death of Thunderbird “demonstrated to the new X-Men right off the bat that they were vulnerable, and suggested to the audience that this was a book in where anything could happen”, explains Claremont. Indeed, in the splash page of “Night of the Demon” (originally published in The X-Men # 96, December 1975), we find a devastated Cyclops trying to come to terms with the decease of his comrade Thunderbird. 40 years ago, death was taken seriously, and once a character died there we no resurrections. Today, both Marvel and DC Comics have specialized in killing dozens of characters in a week only to have them promptly resurrected next week, and any narrative shock that could be derived from the death of a hero has disappeared. The cover of this issue was done by Dave Cockrum and John Romita; of course, Cockrum pencils the interior pages, and he’s inked by Sam Grainger.

“My Brother, My Enemy! (The X-Men # 97, January 1976) is a very important issue mainly for three reasons: we see how Moira MacTaggert tries to help Professor X, we witness the evil machinations of Erik the Red, and we also catch a glimpse of what has been troubling Charles Xavier for so long: he’s having visions of an intergalactic war, far away from our solar system, and he feels an uncanny presence approaching our planet. This extraordinary scene is penciled by Dave Cockrum and inked by Sam Grainger. The design of the alien armada, the interaction between spaceships, the choreography of the battle, everything is beautifully portrayed by Cockrum. The cover of this issue, by Rich Buckler and Dave Cockrum, shows the confrontation between Cyclops and a mind-controlled Havoc.

In “Merry Christmas, X-Men...” (The X-Men # 98, April 1976), Claremont pays homage to “The Sentinels Trilogy” by reintroducing the deadly robots. The story takes place during Christmas, while the X-Men, in civilian clothes, are having fun in Rockefeller Center. There is an absolutely delightful scene in which Jean Grey kisses Scott Summers passionately. Two bystanders seemed surprised by this youthful display of love, and these men are actually the creators of the X-Men. Jack Kirby says “they never used to do that when we had the book”, and a smiling Stan Lee replies “Ah, Jack, you know these young kids -- they got no respect”. However, Jean and Scott are interrupted by the Sentinels. Dave Cockrum’s cover is amazing (his Sentinels are like a synthesis of the early Kirby designs but also including the refinement of Neal Adams later version), and his interior art is also quite impressive, this time he’s inked by Sam Grainger (in the same way that there is a different inker for each issue, there are also a lot of different colorists: Don Warfield, Phil Rachelson, Janice Cohen, Michele Wolfman and Bonnie Wilford).In “Deathstar, Rising!” (The X-Men # 99, June 1976) the X-Men have been captured in a space station, and after fighting against the Sentinels they discover that there is an even deadlier threat: the X-Sentinels. Cockrum is the cover artist and the penciler, while Frank Chiaramonte provides the inks. The final battle takes place in “Greater Love Hath No X-Man...” (The X-Men # 100, August 1976). The X-Men fight against the X-Sentinels, a group of new androids have the appearance of the founding members of the X-Men (Cyclops, Marvel Girl, Angel, Beast and Iceman). Cockrum pencils and inks the cover and all the interior pages, and the result is magnificent.

Claremont, once again, decides to make things especially difficult for the X-Men. So even if they win, their space shuttle has sustained severe damages and they can’t return to Earth. That’s the moment when Jean Grey decides to sacrifice herself. She drives the space shuttle, protecting herself against the radiation with a telekinesis force field, while her friends are safely located in the back of the shuttle. Claremont understands what’s a true act of heroism, but despite Jean Grey’s bravery, there will be serious consequences. This particular moment “laid the groundwork for the Phoenix storyline that was to follow –forty odd issues later”, affirms Claremont.

Chris Claremont was the main X-Men writer for 17 years, a record that no other writer in the world has been able to achieve. Of course, he was an expert in introducing subplots and develop them carefully and patiently, like any great novelist. ________________________________________________________________________________________________________________________________________________________________________________________________Han pasado más de 40 años desde que Chris Claremont se convirtiera en uno de los autores más respetados de la industria del cómic. Su carrera en X-Men, tan aclamada por la crítica, resucitó un título que estaba al borde de la cancelación, llevándolo a nuevas alturas de popularidad. De repente, el equipo clásico de los X-Men fue disuelto, como vimos en “Second Genesis”.

November 8, 2016

Some of the best Marvel villains have a unique elegance and a true majestic attitude. Some are even kings or rulers of nations, such as Dr. Doom; others are respected due to their leadership and vision, such as Magneto. Perhaps the allure of such characters is their disregard for the democratic process. They know they’re right, they have a clear mission and they have enough power and resources to win the battle.

Etymologically, the term villain derives from villa, and therefore the original meaning of villain is peasant; exactly the opposite of a noble man. So a super-villain like Count Nefaria is practically an oxymoron: an enemy (villain) that comes from one of Europe’s most privileged royal families. But Luchino Nefaria is a fascinating character precisely because of that strong contradiction. A representative of Italy’s aristocracy, Nefaria shares a few similitudes with the Prince in “Il Gattopardo”; in this nostalgic novel, Giuseppe Tomasi di Lampedusa recreates the end of an era, the decline of royalty and the ascension of new social classes.

I’ve been a huge fan of Count Nefaria for years. This tragic figure represents the end of royalty and the frustration of those who once had power and now have lost it. Furthermore, Nefaria’s impoverished situation is even more dramatic if we consider that he holds a nobility title, a document which is becoming more and more useless in today’s world. Count Nefaria is a man who owes money to his former colleagues, and those debts are the result of his failed plans to prevail against the superpower of democracy (namely, America’s superheroes).In “To Fall by Treachery!” (originally published in The Avengers # 164, October 1977), Count Nefaria reunites the Lethal Legion (Living Laser, the first Power Man and Whirlwind), and persuades them to rob banks so that he can fund his projects. These 3 uncouth villains mock Nefaria as they see his old mansion dusty and practically abandoned. Indeed, the noble man can no longer afford a butler, not even a chauffeur (he explicitly complains about that while being forced to drive his own Rolls Royce).Luckily for Nefaria, all his efforts seem to pay off in “Hammer of Vengeance!” (The Avengers # 165, November 1977). Project N is successful, and all of a sudden, Count Nefaria gains unlimited power. And then he attacks the Beast, Black Panther, Captain America, Scarlet Witch, Wasp, Wonder Man and Yellowjacket, defeating them with ease. John Byrne magnificently illustrates the fighting sequences between Earth’s mightiest heroes and the Italian count. Undoubtedly, my favorite scene takes place when Nefaria defeats the Whizzer. The old hero, however, gives him a fulminant warning: “How old… are you, Nefaria? Fifty? More? You’re past your prime! You’ve acquired your strength just in time to watch it fade with the dregs of your youth”. In the same way that aristocracy is at its death throes, Count Nefaria won’t have the chance to enjoy his powers for long. Shocked by the realization, Nefaria desperately vows to use all his abilities to discover the secrets of immortality.

In “Day of the Godslayer!”, (The Avengers # 166, December 1977), Count Nefaria goes even further, as he stands against the Invincible Iron Man and even the Mighty Thor. In fact, only the combined power of the Odinson and the Vision are able to stall him momentarily. During the fight, Nefaria has aged considerably. Wielding such formidable powers has taken a toll on him.

November 6, 2016

In October, UWM celebrated the 31st Annual Milwaukee LGBT Film/Video Festival. Although there were many interesting films, documentaries and short films, I was so busy that I barely had time to go to the Union once. I decided to watch Théo et Hugo dans le même bateau (2016), directed by Olivier Ducastel and Jacques Martineau, a couple of French directors that had already impressed me with previous works such as Crustacés & coquillages. Paris 05:59 (as it was titled in English), focuses on two young men (Geoffrey Couët and François Nambot) who run into each other in a sex club in Paris. Although at first glance it might seem like the filmmakers are simply examining the promiscuity of the French gay community, the truth is that they go much deeper, analyzing the motivations of the protagonists, their loneliness and their need to connect with each other. Unprotected sex, however, has serious consequences, and they both find out they might be HIV positive. Ducastel and Martineau create an intense narrative, full of shocking scenes but also delicate, tender and extraordinarily moving moments. Combining love and sexuality, freedom and youth, the directors deliver a heartfelt testimony of what it means to be young and gay in today’s France.

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Arcadio

Comic books are my passion. They are as precious to me as the oxygen I breathe, and perhaps even more. The 9th art has been a part of my life for as long as I can remember. And through the years, this passion kept on increasing, thus turning me into an active participant. I started as a reader and later on I became a full-fledged writer and artist. Indeed I’ve found the perfect way to have twice as much pleasure when it comes to comics: I can either read them or write and draw them. And I absolutely love doing both!